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Search Results for: Salsa
Cristobal Verdecia and his quartet Son Qba in Miami
As we all know, Cuba is an endless source of talent and never tires of proving it. Today, we are really honored to be able to talk to one of its greatest exponents in the city of Miami and it is arranger, producer, bandleader, and bassist Cristóbal Verdecia, who very kindly agreed to talk to us for a few minutes about his life and career both in Cuba and in the United States, his home for more than 10 years.
Cristóbal’s beginnings and inspirations for entering the world of music
The first reference that Cristobal had at a musical level was his uncle Israel “Kantor” Sardiñas, who was the vocalist, bassist, and pianist for the legendary band Los Van Van. The artist always wanted his nephew to learn to play instruments, more specifically the piano, but Cristóbal had other hobbies at the time and did not pay much attention to him. Then, in 1982, Sardiñas packed suitcases and left Cuba in search of better opportunities, but not before leaving his piano, bass, and guitar to the young Cristóbal to use them in his place.
It was then that he finally became truly interested in music, and the instrument that most caught his attention at the time was the bass. Seeing this sudden love for the instrument, Cristóbal’s father decided to enroll him in the Guillermo Tomás Music Conservatory when he was about 10 years old. He greatly improved his skills with the bass and began playing with local jazz bands, but his academic training was not yet complete.
Some time later, he enrolled at the Ignacio Cervantes Conservatory, where his teachers, in his own words, were two of the best bassists to come from Cuba: Silvio Vergara, now deceased, and Carlos Del Puerto. At this institution, he studied electric bass and double bass.
From there, Cristóbal began playing with increasingly prestigious bands such as Pachito Alonso y Su Kini Kini, Paulo FG y Su Élite, Adalberto Álvarez y Su Son, Havana D’Primera, among many others. Being with Pachito, he had the opportunity to share with artists of the stature of Roberto Hernández “Robertón” (current Los Van Van singer), “El Lele,” the Mengual twins, among others. It was Robertón who gave him some advice about how to improve the quality and raise the level of his work.
In the case of Paulo G Y Su Élite, he had the opportunity to serve as musical director for about five years in the band, which provided great learning for the future.
Subsequently, Alexander Abreu, director of Havana D’Primera, had the idea of forming his own band with the best musicians in Cuba and that each musician had a substitute. That was where Cristóbal joined and became part of the first album, “Haciendo Historias.”
Move to the United States
When Cristóbal made the decision to leave Cuba, the first country he visited was Mexico, where he spent about four years and also played with many other bands. However, the idea of forming his own project was already on his mind for some time.
When he finally turned this idea into reality, the artist and his band accompanied singers who arrived alone, which provided him the expertise to face the future professional challenges that awaited him.
Once his cycle in Mexico concluded, he moved to Miami in 2012 to continue growing in music, as he believed that the city offered him an opportunity that his previous country of residence did not. One of the first things he wanted to do was to revive his quartet Son Qba, which he had started in Mexico, but he was advised to take the time to learn how everything worked there first and then follow the path he wished.
This is how Cristóbal also managed to play with several local artists and bands to understand the dynamics of the place, such as Tony Succar, Issac Delgado, Timbalive, Aymée Nuviola, Grupo Niche, Gonzalo Rubalcaba, Albita Rodríguez, Buena Vista All Stars, among others. All this path traveled finally led him to be able to resume Son Qba with the full works in 2019.
Today, Son Qba consists of our guest Cristóbal Verdecia, tresero Franklin Reytor, percussionist Marciano Hernández, singer and guitarist Julio César Rodríguez, and singer José “Pepito” Gómez.
Read also: Gabrielito Y La Verdad giving everything in Los Angeles and beyond
Ángel Luis Canales is a renowned Puerto Rican singer and composer known as “El Diferente” (The Different One) for his particular and irreverent style
Angel Canales was born on June 29, 1950, in Santurce, Puerto Rico.
During his childhood, around the age of 8 or 10, he moved with his family to New York City, where he lived in East Harlem (Upper Manhattan). Musical influences indicate that from a young age, he was strongly influenced by the music of Cortijo y su Combo and Ismael Rivera.
Before or concurrently with his musical career, he worked in the jewelry business; he was a messenger and later learned to cut and polish diamonds, a skill that allowed him to self-finance his musical career and pay high salaries to his musicians.
Musical Career
His Beginnings: He started as a timbalero in Ray Jay’s orchestra, where he debuted as a singer, replacing the lead vocalist.
His first album (1970), titled “Brujería,” was released in 1970 and recorded under the Alegre Records label, with musical direction by Mark Dimond. Hits from this production include “El Barrio,” “Yo No Tengo Pena,” and the title track.
Notable Hits: Among his most popular songs are: “Nostalgia,” “Sol de Mi Vida,” “Perico Macoña,” “Lejos de Ti,” “Hace Tiempo,” “El Cantante y la Orquesta,” “Sabor de los Rumberos Nuevos,” “Bomba Carambomba,” and his celebrated rendition of the bolero “Dos Gardenias.”
His Unique Style is recognized for its unorthodox approach and distinctive vocal timbre, which earned him the nickname “El Diferente” (The Different One).
He was a highly independent artist who self-financed his albums and founded his own record label, Celanac Records.
Tours and Retirement
International Tours: He toured internationally, visiting countries such as Panama (his first), Venezuela (where he performed at the Poliedro de Caracas in 1982), Colombia, and Peru. It is said that he never performed with his orchestra in his native Puerto Rico.
He retired in the late 1990s, deciding to leave the stage.
Currently, he is reportedly battling Parkinson’s disease, which has limited him and led him to choose silence and retirement, although he occasionally attends private events. He is currently 75 years old.
50 Years Since the Launch of “Sabor” (1975)
The Album: The album titled “Sabor” by Angel Canales was released under the Alegre Records label in 1975.
Only a boricua (Puerto Rican) who has been absent from their homeland knows what it’s like to be away from Puerto Rico when winter arrives in New York City. Or when you’re inside a taxi or walking the congested streets of the Bronx or the Latino barrio, and all you see around you are skyscrapers and more skyscrapers. The anxiety and sense of helplessness that overwhelm your spirit in the concrete jungle can only be calmed by memories.
50 years ago, on Monday, November 10, 1975, the unique voice of Puerto Rican singer Ángel Luis Canales consoled the thousands of boricuas oppressed by nostalgia with his composition “Lejos De Ti” (Far From You). It was a confession and affirmation of his Puerto Rican identity, in which he asserts that his love for his homeland will never die, even though he was raised in New York.
The song is a guaguancó with lyrics that evoke images of old San Juan, Villa Palmeras and its rich bomba heritage, Boca de Cangrejos, fried fritters on the grill, and the river that crosses through the old Ancón de Loíza Aldea, where his grandmother lived. “Lejos De Ti” remains the most remembered track from “Sabor,” an album produced by Joe Cain, recorded in late 1974, and released by Alegre Records on Monday, November 10, 1975.
This album is considered one of the best salsa releases of the 1970s.
Canales’ Style: Canales favored a different style of interpreting Afro-Caribbean rhythms, combining elements from Héctor Lavoe, Ismael Rivera, Vicentico Valdés, and Paquito Pérez (the singer of the Orquesta Zodiac of Loíza). He extended the melodies with his nasal voice, challenging the poetry of the montunos, but going off-key and mispronouncing some words. His diction was far from perfect.
Production: The architect of Canales’ success was Colombian pianist Edy Martínez, who arranged seven of the eight tracks on this session, from cut #2 to #8. Due to a prior commitment with Mongo Santamaría’s band, he left his compatriot José Madrid in charge of the piano performance on this record.
Under Martínez’s direction, Canales embraced fame. “Sabor” was his second album between 1970 and 1971, he had recorded the “Brujería” session with pianist Mark Alexander “Markolino” Dimond, who founded Conjunto Sabor after spending several years with Willie Colón’s band.
Canales reappeared four years later with the Orquesta Sabor los Rumberos Nuevos with an arrangement by Louie Cruz. That same year, 1975, Larry Harlow produced Mark Dimond’s classic “Beethoven’s V” featuring vocalists Frankie Dante and Chivirico Dávila. “Sabor” was a huge hit.
Tours and Artistic Choices: The singer toured Europe, the United States, and South America, where Colombians, Panamanians, and Peruvians remember him fondly to this day, despite health issues forcing him to retire from the stage.
During the golden age of salsa, singers were expected to master all genres, and boleros were no exception. His vocalization on “La Hiedra” (a track written by Saverio Saratini and Vincenzo D’Acquisto) and “No Te Acostumbres” (a track belonging to Doris Aghian’s catalog) is notable for its theatricality, a trick Canales employed to mask the limitations of his voice.
Salsa dancers who thrive on piano, trombone, and percussion solos will be delighted with “Sabor Los Rumberos Nuevos,” “Sol De Mi Vida” (dedicated to his wife Brunilda), “El Cantante y La Orquesta,” and the hit “Hace Tiempo” (with its memorable chorus: ay, ay, ay, no me hagas padecer así – oh, oh, oh, don’t make me suffer like this).
Legacy: Before becoming a professional singer, Canales worked as a jeweler. A look at the covers of his first two albums is enough to conclude that he was a pioneer in the use of bling-bling in salsa. As a composer, Canales was a solid chronicler of barrio life. The story told in “Perico Macoña” is a good example: a man who smokes a joint and loses all self-control, insulting his own friends with his abrupt comments.
The re-issue of “Sabor” is a fitting tribute to the memory of the late Joe Cain.
Credits
- Trombone: Juan Torres, Ricardo Montañez
- Trumpet: Tom Malone
- Baritone Saxophone, Flute: Emérito Benítez
- Piano: José Madrid
- Bass: Eddie Testo
- Congas: Antonio Tapia
- Timbales: Gadier Quiñones
- Bongo: Aldemaro Luis Rivera
- Producer: Joe Cain
- Musical Director: Juan Torres
- Recorded at: LE Studio NYC, December 1974
- Engineer: Sandy Sina
- Arrangements: Edy Martínez (except “Sabor Los Rumberos Nuevos” by Louie Cruz)
Torres, Montañez, Tapia, and Quiñones had previously collaborated with Canales on Markolino Dimond’s “Brujería” album.
Collaboration:
Latin America / December 2025
| Events – December 2025 | ||
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Feria de CaliDec 25 / 30, 2025 Santiago de Cali, Colombia |
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El Gaitazo del OsoDec 5, 2025 Poliedro de Caracas From $ 41 |
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DIRECTORY OF NIGHTCLUBS |
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Alberto Crespo and Carlos Santos Release Their Latest Single “Narci” with Grupo Bacheo to the Latin Market
On November 7, 2025, the vibrant Latin music scene celebrates a stellar collaboration that promises to ignite dance floors.
The acclaimed Venezuelan pianist, arranger, and music producer Alberto Crespo joins legendary Puerto Rican sonero Carlos Santos and the talented Grupo Bacheo to present their latest musical track titled “Narci.”
This original composition by Ali Delgado and José Granados, featuring arrangements by Alberto Crespo himself, fuses a modern sound with the unmistakable rhythm of salsa, guaranteeing a musical experience that will delight dancers.
Alberto Crespo: A Piano Master with an International Career.
From his beginnings at the “José Ángel Lamas” Music Conservatory in Caracas, Alberto Crespo demonstrated exceptional passion and talent. His deep immersion in harmony, counterpoint, orchestration, and improvisation has established him as a versatile and well-rounded musician.
By age seventeen, he was already touring with renowned orchestras, sharing the stage with icons such as Naty y Su Orquesta, Celia Cruz, Bobby Capó, Carmen Delia Depini, Carlos Cano Estremera, Andy Montañés, Ismael Miranda, Pete Conde Rodríguez, and José Mangual Jr., among many others.
With over three decades of experience in salsa and Latin Jazz, Crespo has consolidated his reputation as a highly prestigious producer, arranger, and pianist. His impressive list of collaborations includes national and international artists such as Maikel Stuart, Frankie Morales (former singer for Tito Puente), Orquesta Bailatino, Grupo Mango, Herman Olivera, Rumberos de Callejón, Gilberto Santa Rosa, and Naty y Su Orquesta. His versatility has led him to be part of the most prominent musical groups in Venezuela.
Carlos Santos: A Classy Sonero with a Legendary Trajectory.
Born on March 13, 1946, in Cataño, Puerto Rico, Carlos Santos is a true sonero whose career took off with Joey Pastrana’s band. His powerful voice and unmistakable salsa flair led him to perform and record with emblematic salsa orchestras, including “Kako y su Trabuco,” “Los Kimbos,” “Conjunto Candela,” and Roberto Roena’s “El Apollo Sound,” in addition to special performances with Ray Barreto and El Conjunto Libre.
Santos has left classics for posterity such as “Chacaboom,” “Las cosas de la vida” and “Amor verdadero” with Joey Pastrana, as well as “Flores para tu altar” and “Me imagino” with Conjunto Candela. His voice also enriched productions by Eddie Palmieri and Los Kimbos with tracks like “Caridad” and “Todo el mundo.” During his time with El Apollo Sound, he garnered hits such as “El Progreso” and “Háblame ahora.”
Carlos Santos currently resides in Florida, United States, and continues to delight audiences with his international and local performances.
The union of these two pillars of salsa, under the production of Chongo Producción (from New York) and Juancho Producción (in Cali), promises to be a memorable event for Latin music.
Note: “45 RPM is for sale in Cali by Juancho Producción, and will be presented with great fanfare on December 30 at 10:00 a.m. at the Meeting of Music Lovers and Collectors (Encuentro de Melómanos y Coleccionistas) of the Cali Fair, Colombia. 2025.”
Production Credits
General Production
- Production: Alberto Crespo & Chongo Productions LLC
Musical Team
- Composer: Ali Delgado / José Granados
- Vocalist: Carlos Santos
- Arrangements: Alberto Crespo
Musicians
- Timbal: Carlitos Padrón
- Tumbadoras (Congas): Manuel “Manny” Márquez
- Bongó / Bell: Carlitos Padrón
- Trumpets: Jorge Maestre “Pitufo”
- Baritone Saxophone: José Antonio Fariñas
- Bass: José Soto “Mortadelo”
- Percussion: Carlitos Padrón, Carlos Crespo
- Chorus / Background Vocals: Heyzer Cabrera & José Soto “Mortadelo”
Recording and Post-Production
- Recording Studios:
- Chongo Estudios (New York)
- A Tempo Estudios (Caracas)
- París Recording Estudios (USA)
- Mixing: Heyzer Cabrera / Alberto Crespo
- Mastering: Heyzer Cabrera
Important Note by Alberto Crespo:
I was working on the arrangement for the song NARCI, and when I reached the chorus, I wanted to find a beautiful melody with a different harmony, like a chorus of angels singing from heaven. I was pacing around my workspace and the areas near my house, searching for ideas.
My wife, Adriangela, was listening to what I was developing to achieve a final connection, and all of a sudden, she sang that beautiful melody to me. I immediately copied it and added the chords, and honestly, it was something magical, very spiritual… “Ya no estás más a mi lado, cómo te extraño, mi amor, cómo te extraño…” (You are no longer by my side, how I miss you, my love, how I miss you…) That final unison of the chorus is very subtle and sentimental.
Video
Video: Chongo Productions LLC
Listen to “Narci” on YouTube:
Alberto Crespo y Bacheo
+58 4142521642